2024-05-05 06:07:47
The Runners arrives in Argentine theaters in a short time. It is the new film by Néstor Montalbano, a fundamental name when it comes to understanding Argentine comedy and many of its paths in recent years. Since his work in Cha Cha Cha and Todo x 2 pesos, in addition to films such as I am your adventure, Birds flying, Don’t cry for me, England and A handful of hairs, Montalbano has shared many corners of his playful world with Diego Capusotto, one of the great popular comedians left. In this case, Capusotto shares the screen with Carola Reyna, Alejandra Flechner, Norman Briski, Alejandro Müller, Eduardo Calvo, Pablo Mansilla and Gento Montalbano. It is Capusotto himself who anticipates before the premiere: “In the film you have to solve a crime. I think it is a film that has a certain black comedy, it has melodrama in some characters, who might have come from Manuel Puig. There is something that is intertwined and that differs from Néstor’s other films, where there was more direct humorous language and more aimed at achieving a funny effect. This ventures into other places, where it requires a much more active tension to what the characters say and how this problem is going to be resolved. There is something that can address that, which may seem like a horror film at first, but that becomes diluted, and becomes anchored in another genre. “That’s where the thing goes.” And he adds: “National cinema has some possibilities of being able to have an economic result. It seems to me that national cinema is made out of pure desire. There is a need, and there the desire is summoned, in that matter of counting. Ours belongs to that, to the desire of Néstor and the screenwriter Marcela Potente to do something. In principle, always the desire, we start from there at a time of a crisis that is worsening. I am not going to sector my view on culture because I am an actor. Not only is culture in crisis: work, the future, many more things. That of the Government is an adjustment that falls on the middle classes and the most needy. An agenda that was not addressed in the previous government: poverty, insecurity, inflation, and that now this government has no intention of anchoring there. Not much less. It is a government of corporations. They are the masters of distraction. And on the other hand, another serious thing has to do with the surrender of sovereignty. I don’t see much talk regarding that either. Faced with that, the outlook is somewhat bleak.”
Returning to The Runners, Capusotto says: “I had to embody four characters, all related to the story. Not to show that I can make four characters or change the costumes. It was depending on the story, this character blended in, getting into different beings, which forced me to give the tone to each one. It was an incentive that came from me when Néstor called me for the film. You define yourself as an actor when two or three months before filming you are obsessed with something. They made me enter one that I know, because what we do with Pedro Saborido is go from one character to the other. Many of them are the same with different clothing, others are different. It’s a procedure I’m used to doing. But there was no comedy here, it is another record more linked to a linear story than to a character that will last ten minutes, there are elements of the characters’ emotionality that differ from the genre and the way I act in comedy. “I found that very interesting.”
—What do you feel defines the work you do (this film or other things) with Néstor Montalbano? Where do you see the common affinity they have when it comes to telling?
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The practice of professional and critical journalism is a fundamental pillar of democracy. That is why it bothers those who believe they are the owners of the truth.
—When we were in Todo x 2 pesos or Cha Cha Cha we had common places that we shared when it came to ideas. In Néstor’s latest films I am part of a desire that is born, in the case of The Runners, from him and his wife, Marcela Potente. Of course, what draws me is not only the friendship with Néstor, but also his aesthetic sense, the risk he takes, that he takes, in his stories. That’s where I turn on, sometimes I don’t, and other times I do, and it depends on how much he calls me or not. But there is a desire in Néstor that always has to do with how he infects, it has always been like that; We have never had a job where we sit down and see what comes out, but in this case there is something that comes out to Néstor and he shares it, and I decide to travel with him.
—What do you feel defines comedy today in Argentina, in general?
—Considering what I said talking regarding macropolitics in the country, the comedy should respond to that. If we are going to laugh in individual terms and tell what happens to us in line at a Chinese supermarket or regarding toxic loves, and we do not address the macro thing that happens to us, which happens to many people, comedy is being left with a short leg It may imply parallels to the situation. Comedy at its core is offending those who offend us. We always laugh at tragedy, never at what goes well. And never regarding what we tell a friend. Comedy can become that. If you tell a friend an anecdote, in a funny way, it can resonate. Comedy that goes wherever it wants is not for me. Ours always accompanied political and social processes, and human anguish, which does not necessarily have to do with politics, but with the simple fact of existing. There is always a scene that is not good, that is a little distressing, and from that one begins to release that distress, to turn life into something else where everything can be allowed. Or that we have to negotiate fewer things on the other hand. And where decisions are decisive: comedy and its madness allow that; If there is no madness, there is sympathy, something else. There is nothing uglier than being told that you are nice and not funny. If we are going to laugh, let it be with a little cruelty, right? It’s the only thing I understand as resistance today, when you do humor you don’t say you do resistance, it’s one thing to do and another thing to talk regarding humor. The comedian’s purest place is always when he is doing humor.
—What did you discover doing “El lado C”, which has shows on May 11 in Bahía Blanca and June 22 at the Belgrano Auditorium?
—It has allowed me to return to a stage that I like, the theater, and being with people. The truth is that I prefer to have that back and forth than to express something on networks, which I do not have and that I am not even interested in having. There I find a loving place and in my best conditions.
—What does being a popular artist mean to you?
—When something travels alone, and crosses different social sectors, and each of those sectors appropriates what is said, and also makes it personal, when what one says is not ghettoized, it is not sectorized, when it is not for a small meeting group, and it begins to generate different emotions in people even dissimilar to oneself, it seems to me that that defines popular. No longer massive, because that language installs something in the other. Massiveness has to do with being in the middle and saying stupid things, and that’s enough for you. What I’m saying is that if you don’t say stupid things, and you say things that can affect different people from different places, that can always become something popular, and I think it has to do with sensitivity, and not just what happens to you. . The identification is not forced, but there is something there that makes you go from one idea to another, from one scene to another. That happens with different social classes with the things we have done.
It circulates to each one as it circulates. I don’t know how it circulates to people.
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#Comedy #cruelty
